TheAccafellows: exploring the music making and culture of a collegiate a cappella ensemble

Abstract

Despite the growth in number and popularity of collegiate a cappella ensembles in the USA over the past 20 years, few researchers have studied these self-governed, student-run, popular music ensembles. This ethnographic case study examined the music making and culture of the Accafellows, an all-male a cappella group at a mid-western American university. An analysis of coded data from individual and group interviews and rehearsal and performance observations revealed five emergent themes: (1) music-making culture; (2) fraternity; (3) alumni involvement; (4) autonomy, leadership and hierarchy; and (5) value of participation. Findings provide a glimpse into the musical lives of the nine members of the group and shed light on the value of their participation in this music ensemble. On the basis of these findings, the author provides recommendations for music educators and suggests future research on informal music practices in formal settings.

Perspectives of European boys about their voice change and school choral singing: developing the possible selves of adolescent male singers

“…These factors include gender, age, peer influence, stereotypes, and the presence of role models (Raider-Roth, Albert, Bircann-Barkey, Gidseg & Murray, 2008;Shepard, Nicpon, Haley, Lind & Ming Liu, 2011;Frazier, 2012;Henry, 2013;Miranda, 2013;Way, Hernandez, Rogers & Hughes, 2013). Research confirms the strong relationship between musical skill and identity 4 development during the school years and subsequent reengagement in musical activity during the adult years (Creech, Hallam, Varvarigou, Gaunt, McQueen & Pincas, 2013;Paparo, 2013).…”

“…These factors include gender, age, peer influence, stereotypes, and the presence of role models (Raider-Roth, Albert, Bircann-Barkey, Gidseg & Murray, 2008;Shepard, Nicpon, Haley, Lind & Ming Liu, 2011;Frazier, 2012;Henry, 2013;Miranda, 2013;Way, Hernandez, Rogers & Hughes, 2013). Research confirms the strong relationship between musical skill and identity 4 development during the school years and subsequent reengagement in musical activity during the adult years (Creech, Hallam, Varvarigou, Gaunt, McQueen & Pincas, 2013;Paparo, 2013).Other research has explored how adolescents, and adolescent boys in particular, develop conceptions of their future possible selves. These studies suggest that the development of possible selves is developmental and sequential, with six stages that progress from conception of an envisioned future self to realisation of that future self (see Hock, Deshler & Schumaker, 2006;Freer, 2009b).…”

Popular, Informal, and Vernacular Music Classrooms: A Review of the Literature

“…Students and tutors agreed on important skills such as arranging, improvising, and playing-by-ear. While many of the studies seemed to focus on composition for instrumentalists, researchers have found collegiate a cappella choirs benefited from developing skills that allowed them to arrange and compose their own music (Berglin, 2015; Paparo, 2013).…”

Effective Educational Strategies to Promote Life-Long Musical Investment: Perceptions of Educators

“…Framed in terms of Achievement Goal Theory, they offered suggestions to promote a learning orientation amongst students (in order to foster motivation) that include: using varied, meaningful, and challenging tasks; emphasizing effort, improvement, and enjoyment rather than competition during evaluation tasks; and providing opportunities for student input and choice ( Green and Hale, 2011 , p. 47). The work considers the learning environment and music-making ‘culture’, which as Paparo (2013) discussed, influence whether and to what degree students are involved in music-making – both in and out of school. Paparo (2013 , p. 35) argued that educators should incorporate practices that “enable students to be autonomous at each level of their development” to assist in promoting life-long musical involvement.…”

“…The work considers the learning environment and music-making ‘culture’, which as Paparo (2013) discussed, influence whether and to what degree students are involved in music-making – both in and out of school. Paparo (2013 , p. 35) argued that educators should incorporate practices that “enable students to be autonomous at each level of their development” to assist in promoting life-long musical involvement. It seems that educators should encourage their students to make music beyond the classroom – and to focus on aspects of the classroom program that will promote continued participation as well as promote links to the learning outside of school ( Silveira, 2013 ).…”